Trailer Analysis 1
- Natasha
Insidious (2011) - Official Trailer
Shots, Camera Angles, Camera Movement and Composition
The trailer for 'Insidious' uses many techniques regarding camera angles and movement, in addition to the type of shot used and their composition in order to create an effective horror movie trailer, portraying a theme of beware and imminent danger throughout the trailer. The trailer mainly consisted of eye line level framing, however, in moments of suspense it often used extremely high angled shots (or birds eye view shots), with the camera positioned directly above the characters in order to effectively portray a theme of vulnerability and fearfulness within the shot. This is shown at 0:56, 1:16, 1:21, 1:22 and 1:38.
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In addition, the trailer utilises variations of close-ups in order to present clear emotion, which because of the genre highly focuses on fear and worry as presented in 0:15 with a medium close-up, 0:34 with another medium close-up, 0:36 and 1:22. The close-ups are used in highly tense situations, which combined with the pace of the editing can effectively portray an image of imminent danger. The use of extreme close-ups however is used in order to convey fast pace actions, such as handling machinery and looking closely at something, this is shown at 1:15, 1:23, 1:24 and 1:37. In addition, the use of extreme close-ups presents a somewhat eerie theme, with the genre of horror influencing this and giving the trailer a more sinister undertone.
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The majority of the trailer was filmed on a handheld camera, with the
idea of imperfection and movement implying the unpolished, imperfect
atmosphere which the setting of the trailer has. In addition, when
referencing demons in the trailer the use of handheld camera may
imply the perspective of the demon observing the characters. Examples of the
hand healed camera usage are shown at 0:27, 0:28, 0:39, 0:41, 0:42,
0:58, 1:00, 1:05 and 1:27. The following shots have been slowed down
in order to present the handheld motion more effectively:
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In addition, the use of zoom is used to add suspense and tension,
especially when making the transition from a medium close-up to a
close-up. It presents an oncoming feeling of dread and fear and clearly
conveys the emotions of the characters in a short space of time. This is
shown at 0:23, 0:52, 0:54, 1:04, 1:07 and 1:35. The following shots have
been slowed down in order to present the zooming motion more
effectively.
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There is a focus pull at 1:12, this may have been used in order to
replicate the usage and changes being made to the camera in the shot,
however it may also imply a confusion as to the complicated machinery
which is being used, immersing the audience into the trailer and allowing
them to feel the same as the characters shown.
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At 1:36 there is a point of view shot, presenting the view of a person through what seems to be a gas mask, this helps to portray the genre of the trailer as it is a disturbed and unsettling image. Point of view shots are also used at 0:41, 0:43, 0:55, 1:00, 1:02 in order to add suspense, as these are relatively slow paced parts of the trailer, building up to a scare.
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A list of the different techniques used in regard to shots, shot composition, camera angles and camera movement are shown below.
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0:15 - Medium close-up. Shallow depth of field.
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0:16 - Close-up. Shallow depth of field.
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0:23 - Zoom from medium close-up. Final result is a close-up.
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0:25 - Tracking shot. Establishing shot. Long shot.
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0:26 - Medium long shot. Deep depth of field. Two shot.
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0:27 - Handheld camera. Medium long shot. Deep depth of field.
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0:27 - Handheld camera. Medium close-up. Shallow depth of field.
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0:28 - Close-up. Two shot. Handheld camera.
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0:29 - Medium long shot.
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0:29 - Close-up.
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0:29 - Action match. Close-up.
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0:30 - Action match.
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0:34 - Medium close-up. Two shot.
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0:35 - Over the shoulder shot. Shallow depth of field.
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0:36 - Medium close-up. Shallow depth of field.
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0:39 - Mid shot. Handheld/Tracking shot.
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0:41 - Eye line match. Handheld camera.
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0:42 - Mid shot. Handheld camera.
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0:43 - Eye line match.
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0:44 - Action match.
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0:46 - Tilt and pan.
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0:48 - Medium long shot.
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0:51 - Insert shot.
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0:52 - Over the shoulder shot. Shallow depth of field. Zoom.
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0:53 - Shot reverse shot. Shallow depth of field. Medium close-up.
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0:54 - Zoom. Medium long shot. Establishing shot.
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0:55 - Establishing shot. Tracking shot. Low angle.
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0:56 - High angle. Long shot.
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0:57 - Pan. Action match. Medium close-up.
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0:58 - Pan and tilt/handheld.
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1:00 - Tracking shot/ handheld.
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1:02 - Long shot. Establishing shot.
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1:04 - Close-up. Zoom.
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1:05 - Handheld. Action match.
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1:06 - Action match
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1:06 - Low angle. Mid shot.
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1:07 - Zoom. Medium long shot. Two shot.
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1:08 - Close-up.
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1:09 - Close-up. Shallow depth of field.
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1:10 - Close-up.
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1:10 - Close-up.
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1:10 - Close-up.
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1:11 - Close-up.​
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1:12 - Close-up. Focus pull.
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1:13 - Close-up.
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1:13 - Close-up.
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1:14 - Close-up. Shallow depth of field.
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1:15 - Extreme close-up. Shallow depth of field.
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1:16 - High angle. Mid shot.
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1:18 - Insert shot. Medium long shot.
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1:20 - Mid shot.
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1:21 - High angle. Two Shot.
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1:22 - Mid shot.
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1:22 - High angle. Two shot.
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1:23 - Extreme close-up.
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1:23 - Two shot. Pan. High angle.
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1:24 - Extreme close-up.
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1:25 - Medium close-up.
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1:27 - Establishing shot. Handheld.
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1:33 - Medium close-up.
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1:34 - Close-up.
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1:34 - Long shot. Two shot.
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1:35 - Zoom. Medium Close-up.
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1:35 - Zoom. Medium long shot.
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1:35 - Close-up.
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1:36 - Close-up.
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1:37 - Extreme close-up.
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1:37 - Close-up
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1:38 - High angle. Long shot.
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1:45 - Mid shot.
Sound
Throughout the trailer, the sound used mimics the repetitive rhythm of the metronome shown at 0:17.
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Metronome Swinging Rocking Knocking Bass
This sound is diegetic; however, due to the fact that the metronome is no longer present in the rest of the trailer, the sound becomes non-diegetic. This rhythmic style which much of the trailer adopts may have connotations with the daunting nature of the horror genre. Due to the repetitive sound, it creates suspense as if leading up to something, in addition to the breaking of the repetition being more likely to aid towards a jump scare or just a intense, highly suspenseful atmosphere. Once the ticking sound is interrupted, it returns briefly at 1:26, fading in from silence with gradual increasing volume; however, the brief nature of this creates a false sense of security in that the viewer expects the repetition to continue for an extended period of time, alike when it was first present in the trailer. This aids the jump scare when the ticking is stopped and more intense, louder sounds become present.
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In much of the most fast paced sections of this trailer, sounds with high pitches and high frequencies are used in order to create an image of speed and frantic behaviour, in addition to these sounds being rather unpleasant, which may show the discomfort of the situation which they are in. This is shown at 1:33. The extremity of this sound shows a clear sense of danger, helping to present the trailer's genre but also aiding the narrative in that the composure of the music is disappearing and becoming wild, alike the plot shown in the trailer. At 0:49 a gradual increase in pitch is presented, clearly portraying an imminent occupancy and building suspense.
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High Pitch Pitch Increace
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Low pitched sounds are used throughout the trailer in order to imply that something bad has just happened but is now over, creating a secure theme in the trailer (often short lived), but also creating a sense of worry and passing it to the viewer. The character's discomfort and confusion, combined with their knowledge of some occurrence which is negative conveys an interesting outlook on the plot in addition to allowing the audience to be able to relate to the characters. This is shown at 0:57 and 1:07.
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The lack of music or any sound can convey an uneasy atmosphere, the use of this technique at 0:15 shows severity upon the following actions, with lack of music allowing composure and mental preparation to be evident, this could relate to the following trailer being related to horror and intended to scare the viewer, therefore mimicking their possible actions as the beginning of their viewing. The second time this is used is at 0:46 to reflect the out of place nature of the rocking sound which was present before and presenting an eerie environment. It also presents an idea of fear and composure, as if the character is attempting to listen for any noises but also attempting to calm her.
Sound effects are also used in this trailer in order to convey the narrative of actions in a more obvious way, such as the sound of the wood breaking at 0:30 implying the negative effects as the breaking sound makes the fall appear more harmful than it may have been with little noise. In addition, the sound of the door handle shaking at 1:04 is so exaggerated that the sound of moving metal resembles a bell ringing, however, it presents the idea that is was being shook extremely vigorously, implying the urgency behind entering the room and conveying some character emotion in the worry and fear that would accompany the action. From 1:09 to 1:14 the clicking and crunching sound of machinery is present, presenting the experience in the characters and their professional nature due to the intricate sounding equipment which they are using, despite the fact that it is merely cameras and some readers which are having sensors taken out of them. This furthers the narrative of the trailer as it clearly presents the characters who are dealing with the equipment to specialise in the supernatural.
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Wood Door Handle Camera
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A transcript of the dialogue is shown here:
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Are you ready?
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Yeah.
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Hey sweetie.
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Morning guys.
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I would really love to...
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*laughing*
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*baby laughing*
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He's not in a coma; they don’t know what to call it.
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Now!
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*baby crying*
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I've been into Dalton's room; there was something in there with him.
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Dalton!
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Dalton!
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I know someone who can help.
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We took trifield and E.M.F. readings of the whole house. Wiring, alarm clocks?
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I don't think bad wiring is the problem here.
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I want to leave; I want to leave this house.
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What is it?
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It's not the house that's haunted, it's your son.
Compared to the 1 minute and 15 second length of the film trailer in its entirety, the fact that collectively only 31 seconds of dialogue was used is interesting, this proves that the trailer relied heavily on the editing, mise en scene, camera work, instrumentals and sound effects in order to portray a plot. Character narration was minimal in this trailer, and it is important to mention that the trailer did not use voice over; the only dialogue used was presented as diegetic sound.
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The use of music in this trailer was kept minimal, with the use of instruments such as strings in order to convey a suspenseful atmosphere however no songs with lyrics or a collectively comprehensive piece of music were used
The font used is called 'Neutraliser Alternate':
'The Neutraliser family is a versatile collection of geometric-based fonts with 24 styles. Neutraliser is a direct result of the designers' initial exploration of typography and is uncompromising in its geometric nature. As the name suggests, the typeface celebrates the precision of the digital medium as a drawing tool in which the critical points that make up a letterform can be almost ‘plotted’ according to a grid-based logic.'[7]
The use of this font, with the flakes of it missing creates an eerie effect, combining to create a clear and defined title, which's rigid nature implies destabilisation as it is presented as a parallel, and conveys the genre of the trailer effectively.
In this film trailer, editing is used as the narrative, meaning that it is fundamental in presenting the plot of the trailer, in addition to presenting a theme or atmosphere in the trailer, which is tailored specifically to the horror genre.
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The original Insidious title
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The use of Neutraliser Alternate Regular with black The use of Neutraliser Alternate Regular with white The use of Neutraliser Alternate Regular with
text on a white background: text on a black background: vignette applied and the text removed
in areas for rough appearance:
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The trailer utilises pace heavily in its editing, with a total of 108 transitions being used in a trailer which is 1 minute and 50 seconds long, averaging at around 1 cut per second. This fast pace contributes to the build up of tension, causing the audience to become nervous and anxious at what is going to happen next. They are waiting to be surprised or scared by what the next quick-cut shot will be. Examples of extremely fast paced editing can be found from 0:25-0:31, 0:51-0:59, 1:04-1:07, 1:08-1:17, 1:18-1:21, 1:21-1:22, 1:22-1:26 and 1:32-1:39 (as well as throughout the whole trailer the fast pace is noticeable), where up to four cuts can be found to be made within one second and some images appear so quickly that they are difficult to see, if not using a pause feature as well as not being registered as a moving image due to their brevity.
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Despite the heavy usage of fast pace editing, slow paced editing can be found within the trailer, for example at 1:26 to 1:32. It can be argued that within the genre slow paced editing can be used in order to create a sense of security, however in this trailer I can depict that the slower pace is used in order to present a daunting and ghostly effect, almost as if the footage was a point of view shot from the supernatural being in the house, which may have been stalking its pray (the main characters shown). In addition, it may have provided a contrast to the continuous high pace, allowing the return to the fast and frantic-like editing to present more panic and suspense in the trailer.
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The trailer uses mainly cuts in its editing, however the utilisation of fades are also included in the editing. This is to present a smoother and calmer environment amongst the fast pace editing, in addition to showing that time has passed. Cross fades are not heavily used, where as a fade to black and then immediate cut to the next image is presented more throughout the trailer. This could also imply that a period of time has passed, but also may support the trailer's relation to darkness. These transitions can be found at 0:17, 0:36, 0:50 and 1:08.
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The trailer often inverses the colour of the images which are shown on screen, this is usually done in extremely fast pace editing sequences. This provides a flash of light on the screen when the image is set in a dark environment, in addition to creating a confusing image which the viewer may find difficult to interpret. This is done with the intent to shock the viewer, building suspense and conveying the confusion and panic which the characters were experiencing. In addition to inverting the colour, a green filter can be shown to have been applied to the image, further presenting a unsettling atmosphere in addition to the out of the ordinary in order to make the viewer uncomfortable, while also presenting a science-like atmosphere which supports the supernatural events with reason, creating a more daunting context to the trailer. These effects can be found at 1:20, 1:33, 1:34, 1:36, 1:37 and 1:38. Paired with many of these effects, is the images using their true colours, this presents a possible idea of a malfunctioning camera also, with the idea possibly implying a malfunction in time and the switching between the two dimensions shown in the trailer, that of the supernatural and that of the human characters. This may also be done using a wipe transition, to clearly show that the same image has had its colour altered. ->
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The titles are presented on a black background, with the text either fading in from the black or flying onto the screen having been presented from close to the camera. The fade provides a ghostly effect, relating the events in the trailer in addition to its genre. The second effect presents shock as the viewer is made to feel as though the glowing white text was in their face.
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Visual effects and animation are used in the trailer when introducing the name of the movie and other information about it such as its release date. It is important to recognise that the visual effects and animations used here present the genre of the trailer effectively, with the flickering and zooming out of the text from promoting tension in their eerie style.
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Editing
0:39 - cut
0:41 - cut
0:42 - cut
0:43 - cut
0: 45 - cut
0:47 - cut
0:47 - fade in titles
0:48 - cut
0:50 - fade
0:52 - cut
0:53 - cut
0:54 - cut
0:54 - cut
0:55 - cut
0:56 - cut
0: 56 - cut
0:58 - cut
0: 59 -cut
0:59 - titles
1:00 - cyt
1:02 - cut
1:04 - cut
1:05 - cut
1:06 - cut
1:06 - cut
1:07 - cut
1:08 - fade
1:08 - cut (sped up)
1:10 - cut
1:11 - cut
1:!1 -cut (sped up)
1:12 - cut
1:13 - cut
1:13 - cut
1:14 - cut
1:15 - cut
1:16 - cut
1:17 - cut
1:17 - titles
1:18 - cut
1:18 - cut
1:19 - cut
1:20 - cut (inverted) green
1:21 - cut
1:21 - titles
1:21 - cut
1:22 - cut
1:22 - cut
1:22 - titles
1:23 - cut
1/;23 - cut
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1:23 - cut
1:23 - titles
1:24- cut
1"24 - cut
1:24 - cut
1:24 - cut
1:25 - cut
1:27 - fade
1:32 - cut
1:33 - cut (inverted colour) green
1:34 - cut
1:34 - cut same image inverted
1:34 - cut inverted image green
1:34 - wipe - image not inverted
1:35 - cut
1:35 - cut
1:35 - titles
1:35- cut
1:36 - cut
1:36 - titles
1:36 - green gel filter
1:36 - cut
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1:36 - cut
1:36 - titles
1:36 - cut
1:36 - cut
1:36 - cut
1:37 - cut inverses
1:37 - cut same image not inverted
1:37 - inversed
1:37 - cut
1:38 - cut
1:38 - cut
1:38 - cut
1:38 - cut
1:38 - cut inverse
1:38 - cut not inverses
1:38 - cut
1:39 - cut
1:40 - titles
1:41 - cut
1:41 - titles
1:44 - fade to black
1:44 - title fade to black
1:45- cut sped up
1:45 - cut
1:48 - fade in titles
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1:49 - fade out titles
A list of the transitions and visual effects used
0.05- Cut
0.06 - fade
0.09 - fade
0,09 - fade in titles
0.15 - cut
0.17 - fade
0.19 - cut
0.19 - fade in titles
0.23 - cut
0.25 - cut
0.25 - cut
0.26 - cut
0.27 - cut
0.27 - cut
0.28 - cut
0.29 - cut
0.30 - cut
0.30 - cut
0:30 cut
0:30- cut
0:31 - fade in titles
0:34 - cut
0:35 - cut
0:36 - fade
0:38 - cut
0:38 - fade in titles
Mise en Scene
The mise en scene in this trailer directly communicates the film's tone, the main characters and their environment, using features such as lighting, setting, location, character and costume in order to do this. The creative portrayal of the world in which the movie is set contributes to the life-like effect of the trailer.
The lighting in this trailer portrays a very cool toned image, with the artificial lighting which is used being white and not yellow toned light, and the natural lighting creating the white light which cools the colours in the environment.
The appropriate light exposure was used in order to make most aspects of the scenes clearly visible; however due to the lack of bright lighting the whole trailer appears to be relatively dim, with the darker tone relating to the horror genre and creating a more dismal appearance. An example of the use of dim lighting in this trailer is shown through 0:29 to 0:31.
As shown in the clip from 0:39 of the trailer, the style of lighting provides a dramatic contrast to the lighting outside of the house, with features such as the curtains being drawn, and the only lighting present being what is breaking through from outdoors creating a juxtaposition of light and dark, possibly representing good and evil, with the house being a negative and threatening environment. This clearly relates to the horror genre, with the homely environment being made into what would be perceived as threatening.
To further the idea of the darker lighting insinuating danger, there is a clip within the trailer which shows Foster, a child, retreating into a dark bathroom. This is at 0:49. This also insinuates the danger of the situation, with the child retreating into darkness being representative of his vulnerability to negative force.
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Specific lighting techniques are also utilised in order to create a dramatic and threatening tone. For example, at 0:51 a sihouette is used and at 1:19 the subject is lit from beneath the face.
A list of all the different locations which appear in the the trailer are shown below:
0:15 - Inside the home in the living room
0:23 - Outside of the house
0:26 - Inside the house in the kitchen
0:27 - Inside the house in the bedroom
0:29 - Inside the house in the attic
0:33 - At the hospital
0:39 - Throughout the downstairs of the house
0:42 - Inside the house in the kid's play room
0:48 - Inside the house in the hallway through to the bathroom
0:50 - Inside the house in the kid's bedroom
0:52 - Inside the house in the piano room
0:54 - Inside the house in the hallway
0:56 - Inside the house in the hallway through to the baby's room
1:00 - Inside the house in the hallway through to Dalton's room
1:25 - Inside the house in the dining room
The characters in the trailer and their actors are shown below in addition to the characters' costumes, a key contributor to the realism of the trailer. It conveys the characters in a way to portray their vulnerability or personality:
The father character and protagonist is played by Patrick Wilson.
The mother figure and protagonist is played by Rose Byrne.
The son is played by Andrew Astor.
The father character and protagonist is played by Patrick Wilson.
Josh is dressed, typically in casual yet functional attire. His checked shirt portrays a masculine image, with the country, lumberjack-like appearance implying a theme of dominance and an alpha male image.
Josh is dressed in a shirt, tie and chinos, a semi-casual work attire, his wife Renai is wearing a comfortable and loose long top with a pair of stretchy trousers. This coupling clearly portrays the stereotypical image of a male worker and a stay at home mum, with Josh clearly dressing for formality and Renai dressing for functionality.
Foster is wearing pajamas here, conveying his infantile, innocent and vulnerable nature in addition to his need for protection.
Josh is dressed, typically in casual yet functional attire. His checked shirt portrays a masculine image, with the country, lumberjack-like appearance implying a theme of dominance and an alpha male image.